This article will discuss some of the most prominent definitions of the critical concept known generally under the term Magic Realism. It is also known as “Magical Realism" (Pietri 161, Flores 112), “the Marvelous Real" (Carpentier 75), “the Supernatural Real" (Guenther 33), “New Objectivity" (Hartlub 3, Guenther 33) and “The Fantastic Real" (Chanady 6), among other titles primarily associated with postcolonial literature. It will attempt to arrive at a clear and comprehensive understanding of the literary concepts and practices denoted by this term. It will then attempt to redefine that concept in the light of its discussion of one of Suhair ElMusadafa's latest works, The Forbidden Garden- الحديقة المحرمة (2018), translated into English by the author and republished in Canada in 2022. It will argue that this novel's narrative structure, characterization, and general symbolic and allegoric approaches offer an enlargement of some of the most significant ideals of Magic Realism as defined hereafter. This is particularly the case with regards to this novel's event sequencing processes, characterization philosophy, and cultural ideals and practices including its concept of the nature of both reality and fantasy. This novel's unique formal philosophy, identity politics, ironic stance and multi-layered allegorism offer particular cultural and aesthetic challenges and ideals that negotiate the fabric of readers' understanding of life, self and morality.
Key words: Magic Realism , Suhair Elhusadafa, The Forbidden Garden, Postcolonial Narrative. The Marvelous Real.